Princess Mononoke: Understanding Studio Ghibli’S Monster Princess

Total Page:16

File Type:pdf, Size:1020Kb

Princess Mononoke: Understanding Studio Ghibli’S Monster Princess Denison, Rayna. "Bibliography." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. London: Bloomsbury Academic, 2017. 201–214. Bloomsbury Collections. Web. 29 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 01:56 UTC. Copyright © Rayna Denison 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 01 B IBLIOGRAPHY Alaimo , Stacy . Bodily Natures ( Bloomington, IN : Indiana University Press , 2010 ). Allison , Anne . ‘ Sailor Moon: Japanese Superheroes for Global Girls ’ in T. J. Craig (ed.), Japan Pop! Inside the World of Japanese Popular Culture ( New York : M. E. Sharpe, 2000 ), pp. 259 – 78 . Allison , Anne . Millennial Monsters: Japanese Toys and the Global Imagination ( Berkeley, CA : University of California Press , 2006 ). Amino , Yoshihiko . ‘ “Shizen” to “ningen,” 2 tsu no seichi ga sh ō totsu suru higeki ’ [Nature and Humanity: Th e Tragedy When Two Sacred Places Collide] , in Mononokehime Pamfuletto [ Princess Mononoke Th eatre Programme] ( Tokyo : Tokuma shoten , 1997 ), p. 15 . Amino , Yoshihiko . Nihon no rekishi o yominaosu (zen) [Rewriting the History of Japan (Complete) ] ( Tokyo : Chikuma shob ō , 2005 ). Anderson , Hans Christian . Den Lille Havfrue [Th e Little Mermaid] , trans. H. B. Paull ( USA : Hythloday Press , 2014 [ 1836 ]). Andrews , David L. ‘ Disneyization, Debord, and the Integrated NBA Spectacle ’. Social Semiotics , vol. 16 , no. 1 ( 2006 ): 89 – 102 . Animage , 225, March 1997, pp. 14– 17. Animage , 230, August 1997, pp. 6– 31. Annett , Sandra . Anime Fan Communities: Transcultural Flows and Frictions ( Basingstoke and New York : Palgrave Macmillan , 2014 ). Ansen , David . ‘ “ Princess” Ride ’. Newsweek , vol. 134 , no. 18 (1 November 1999) : 87 . Appleton Aguiar , Sarah . Th e Bitch Is Back: Wicked Women in Literature ( Carbondale and Edwardsville : Southern Illinois University Press , 2001 ). Atkinson , Michael . ‘ Princess Mononoke Review ’. Mr. Showbiz , 29 October 1999 . Austin , Th omas . Hollywood, Hype and Audiences: Selling and Watching Popular Film in the 1990s ( Manchester : Manchester University Press , 2002 ). Backus , Robert L. , trans. Th e Riverside Counsellor’s Stories: Vernacular Fiction of Late Heian Japan ( Paolo Alto, CA : Stanford University Press , 1985 ). B a r t h e s , R o l a n d . Camera Lucida: Refl ections on Photography , trans. Richard Howard ( London : Cape , 1982 ). Bate , Jade . ‘ Kickass Feminists on Film: Princess Mononoke ’. Lip , no. 13 (September 2014 ). http:// lipmag.com/ arts/ fi lm- arts/ kickass- feminists- on- fi lm- princess- mononoke/ (accessed 20 September 2016). Baumann , Shyon . ‘ Intellectualization and Art World Development: Film in the United States ’. American Sociological Review , vol. 66 , no. 3 ( 2001 ): 404 – 26 . Beaman , Nathan . ‘ Special Features: DVD Extras ’. Videomaker Magazine , November 2008 . https:// www.videomaker.com/ article/ 13762- special- features- dvd- extras (accessed 30 January 2017). Beeck , Nathalie op de . ‘ Anima and Anim é : Environmental Perspectives and New Frontiers in Princess Mononoke and Spirited Away ’ in Mark I. West (ed.), 99781501329760_pi-220.indd781501329760_pi-220.indd 220101 111/1/20171/1/2017 44:21:09:21:09 PPMM 202 202 Bibliography Th e Japanifi cation of Children’s Popular Culture: From Godzilla to Miyazaki ( Lanham : Scarecrow Press , 2009 ), pp. 267 – 84 . Bernard , Rosemarie . ‘ Shint ō and Ecology: Practice and Orientations to Nature ’. Forum on Religion and Ecology at Yale . 1998 . http:// fore.yale.edu/ religion/ Shint ō / (accessed 15 April 2017). Bernardi , Joanne.R. ‘ Catching a Film Audience Abroad ’. Japan Quarterly , vol. 32 , no. 3 ( 1985 ): 290 – 5 . Berry , Chris . ‘ “ What’s Big about the Big Film?”: “De- Westernizing” the Blockbuster in Korea and China ’ in Julian Stringer (ed.), Movie Blockbusters ( London : Routledge , 2003 ), pp. 217 – 30 . Biodrowsky , Steve . ‘ Changing Sake into Wine – Neil Gaiman on Adapting “Princess Mononoke” for America ’. Cinefantastique Online , 5 February 2009 . http:// cinefantastiqueonline.com/ 2009/ 02/ changing-sake- into- wine- neil- gaiman- on- adapting- princess- mononke- for- america (accessed 9 May 2016). B i s k i n d , P e t e r . Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film ( London : Simon and Schuster Paperbacks , 2004 ). Bradshaw , Peter . ‘ Film: Princess Mononoke ’. Th e Guardian , 19 October 2001 . British Board of Film Classifi cation . ‘ Examiner’s Report on Urotsukidoji: Legend of the Overfi end ’. 8 October 1992 . Brooks , Xan . ‘ A God among Animators: Hayao Miyazaki’s Hand- Craft ed Fables Have Made Him Japan’s Most Successful Film- Maker Ever ’. Th e Guardian , 14 September 2005 . B r y m a n , A l a n . ‘ Th e Disneyization of Society ’. Th e Sociological Review , vol. 47 , no. 1 ( 1999 ): 25 – 47 . B r y m a n , A l a n . Th e Disneyization of Society ( California : Sage , 2004 ). Buell , Lawrence . Th e Environmental Imagination: Th oreau, Nature Writing, and the Formation of American Culture (Cambridge, MA: Harvard University Press , 1996 ). Buell , Lawrence . Th e Future of Environmental Criticism: Environmental Crisis and Literary Imagination ( Oxford : Blackwell Publishing , 2005 ). Buljan , Katherine and Carole M. Cusack . Anime, Religion and Spirituality Profane and Sacred Worlds in Contemporary Japan ( Sydney : Equinox , 2015 ). Burns , Susan L. ‘ Rethinking “Leprosy Prevention”: Entrepreneurial Doctors, Popular Journalism, and the Civic Origins of Biopolitics ’. Th e Journal of Japanese Studies , vol. 38 , no. 2 ( 2012 ): 297 – 323 . Burr , Ty . ‘ Here’s the Next Star Wars - Like Epic ’. Entertainment Weekly , 3 November 1999 . http:// www.ew.com/ article/ 1999/ 11/ 03/ heres- next- star- wars- epic (accessed 18 September 2016). Burrell , Ian . ‘ Th e Digital World for Women Is Breaking New Ground’ , Th e Independent , 14 November 2014 . Callenbach , Earnest . Ecotopia: Th e Notebooks and Reports of William Weston ( New York : Bantam , 1975 ). C a m p b e l l , J o s e p h . Th e Hero with a Th ousand Faces ( New York : Pantheon , 1949 ). Carr , Jay . ‘ Epic Mononoke Simply Breathtaking ’. Boston Globe , 29 October 1999 . C a r s o n , R a c h e l . Silent Spring ( Boston, MA : Houghton Miffl in , 1962 ). Carter , Laz . ‘ Marketing Anime to a Global Audience: A Paratextual Analysis of Promotional Materials from Spirited Away ’. East Asian Journal of Popular Culture , vol. 4 , no. 1 ( 2018 ). C a v a l l a r o , D a n i . Hayao Miyazaki’s World Picture ( J e ff erson, NC : McFarland & Co. , 2015 ). 99781501329760_pi-220.indd781501329760_pi-220.indd 220202 111/1/20171/1/2017 44:21:09:21:09 PPMM 2 03 Bibliography 203 Chan , Melanie . ‘ Environmentalism and the Animated Landscape in Nausica ä of the Valley of the Wind (1984) and Princess Mononoke (1997) ’ in C. Pallant (ed.), Animated Landscapes: History, Form and Function ( New York : Bloomsbury , 2015 ), pp. 93 – 108 . ‘ Th e Characters’. Princess Mononoke [online]. http:// www.princess- mononoke.com/ html/ epic/ characters/ 01.html (accessed 14 April 2017). Chihiro to Fushigi no machi: Sen to Chihiro no kamikakushi tettei k ō ryaku gaido [Chihiro and the Mysterious Town: A Complete Guide to Spirited Away] (Tokyo: Kadokawa shoten, 2001). Christopher , James . ‘ Another Fine Mess ’. Th e Times , 18 October 2001 . Chute , David . ‘ Organic Machine: Th e World of Hayao Miyazaki ’. Film Comment , vol. 34 , no. 6 ( 1998 ): 62 – 65 . Clarke , James . ‘ Ecology and Animation: Animation Gone Wild: Bambi vs Princess Mononoke ’. Imagine , no. 31 (May 2010 ), pp. 36 – 9 . Clements , Jonathan . Anime: A History ( Basingstoke : Palgrave Macmillan , 2013 ). Clements , Jonathan and Helen McCarthy . Th e Anime Encyclopedia , 2nd edn ( Berkeley, CA : Stone Bridge Press , 2011 ). Collin , Robbie . ‘ Goodbye Studio Ghibli, Your Genius will Endure ’. Daily Telegraph , 4 August 2014 . Corrigan , Timothy . A Cinema without Walls: Movies and Culture aft er Vietnam ( New Brunswick, NJ : Rutgers University Press , 1991 ). Covert , Colin . ‘ Kubo and the Two Strings Review: A Th rilling Action- Adventure for All ’. Chicago Tribune , 19 August 2016 . C u b b i t , S e a n . Eco Media ( Amsterdam : Rodopi , 2005 ). Czarnecki , Melanie . ‘ Bad Girls from Good Families: Th e Degenerate Meiji Schoolgirl ’ in Laura Miller and Jan Bardsley (eds), Bad Girls of Japan ( New York : Palgrave Macmillan, 2005 ), pp. 49 – 64 . ‘Dakota Pipeline: What’s Behind the Controversy?’. BBC News [online], 7 February 2017. http:// www.bbc.co.uk/ news/ world- us- canada- 37863955 (accessed 21 June 2017). D a l e , P e t e r . Th e Myth of Japanese Uniqueness ( London : Routledge , 1986 ). Danner , Chas . ‘ Standing Rock Protesters Declare Victory aft er Construction of Dakota Access Oil Pipeline Suspended ’. Daily Intelligencer , 4 December 2016 . http:// nymag. com/ daily/ intelligencer/ 2016/ 12/ report- construction- of- dakota- access- pipeline- halted.html (accessed 16 June 2016). Deleuze , Gilles and F é lix Guattari . A Th ousand Plateaus: Capitalism and Schizophrenia , trans. Brian Massumi ( Minneapolis, MN : University of Minnesota Press , 1987 ). Denison , Rayna . ‘Cultural Traffi c in Japanese Anime: Th e Meanings of Promotion, Reception and Exhibition Circuits in Princess Mononoke ’ (PhD thesis submitted to the University of Nottingham, 2005 ). Denison , Rayna
Recommended publications
  • WEEK 30: Sunday, 21 July
    WEEK 30: Sunday, 21 July - Saturday, 27 July 2019 ALL MARKETS Start Consumer Closed Date Genre Title TV Guide Text Country of Origin Language Year Repeat Classification Subtitles Time Advice Captions Gorgeously animated, this wordless story about a stranded castaway pays Studio 2019-07-21 0600 Animation The Red Turtle tribute to what's most important in life: companionship, love, family, and the JAPAN No Dialogue-100 2016 RPT PG Ghibli stewardship of nature. One day, while spending the summer with her great aunt, Mary follows an odd cat into the nearby woods. There she stumbles upon flowers which hold a Studio 2019-07-21 0730 Fantasy Mary And The Witch's Flower strange, luminescent power that brings a broomstick to life - which then, in a JAPAN English-100 2017 RPT PG Ghibli heartbeat, whisks her above the clouds and off to a strange and secret place. It is here she finds Endor College - a school of magic! When master thief Lupin III discovers that the money he robbed from a casino is counterfeit, he goes to Cagliostro, rumoured to be the source of the forgery. Studio 2019-07-21 0930 Family The Castle Of Cagliostro There he discovers a beautiful princess, Clarisse, who's being forced to marry JAPAN English-100 1979 RPT PG Y Ghibli the count. In order to rescue Clarisse and foil the count, Lupin teams up with his regular adversary, Inspector Zenigata, and fellow thief Fujiko Mine. Set in Yokohama in 1963, this lovingly hand-drawn film centers on Umi (voiced by Sarah Bolger) and Shun (voiced by Anton Yelchin) and the budding romance that develops as they join forces to save their high school’s ramshackle Studio 2019-07-21 1130 Drama From Up On Poppy Hill clubhouse from demolition.
    [Show full text]
  • Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki
    AN ABSTRACT OF THE THESIS OF Karissa Sabine for the degree of Master of Arts in Women, Gender, and Sexuality Studies presented on June 8, 2017. Title: Girlhood Reimagined: Representations of Girlhood in the Films of Hayao Miyazaki. Abstract approved: ______________________________________________________ Bradley Boovy Despite the now common usage of the term “girl”, there has been little call for pause and deeper analysis into what we actually mean when we use this term. In particular, animated film provides a wide scope of media texts that claim to focus on girlhood; but how do we in fact know girlhood? How is girlhood constructed? With these questions in mind, I use feminist textual analysis to examine three films— Nausicaä of the Valley of the Wind (1984), Kiki’s Delivery Service (1989), and Princess Mononoke (1997)—by acclaimed Japanese animator Hayao Miyazaki in which girl characters and girlhood play prominently into the film's construction as a whole. In particular, I examine how Miyazaki constructs girlhood through his storylines and characters and how these characters (i.e. girls) are then positioned in relation to three specific aspects of their representation: their use of clothing, their relationships to other characters, and their freedom of movement relative to other characters. In doing so, I deconstruct more traditionally held notions of girlhood in which girls are seen as dependent and lacking autonomy. Through Miyazaki’s work, I instead offer up a counternarrative of girlhood in which the very category of gender, and indeed “girls”, are destabilized. In doing so, I hope to provide a wider breadth of individuals the chance to see themselves represented in animated film in both significant and meaningful ways.
    [Show full text]
  • Brokeback Mountain'' and the Oscars I Lesbijek
    ''Americans Don't Want Cowboys to Be Gay:'' Amerykanów, nawet wśród najbardziej liberalnych heteroseksualnych popleczników równouprawnienia gejów ''Brokeback Mountain'' and the Oscars i lesbijek. ______________________ William Glass When Crash (2005) was the surprise best picture winner at the 2006 Oscar ceremony, a variety of explanations were offered for the ("Amerykanie nie chcą kowbojów-gejów". "Brokeback Moutain" upset over the pre-Oscar favorite, Brokeback Mountain (2005). i Oskary) Some suggested a Brokeback backlash occurred; that is, that Brokeback Mountain, which had won critical praise and awards from STRESZCZENIE: Kiedy w 2006 roku Crash zdobył the time of its release and was the highest grossing picture of the five niespodziewanie Oskara za najlepszy film roku, pojawiło się wiele nominated, had worn out its welcome with the Academy voters. prób wyjaśnienia porażki, jaką poniósł przedoskarowy faworyt, Others argued that the Academy got it right: Crash was the superior Brokeback Mountain. Celem tego eseju nie jest porównanie film. A few mentioned the massive marketing campaign by the walorów artystycznych tych dwóch filmów, ani też ustalenie, czy studio on behalf of Crash, swamping the members of the Academy odrzucenie obrazu Brokeback Mountain przez Akademię with free copies of the DVD. Another popular explanation was that motywowane było ukrytą homofobią, ale raczej odpowiedź na since Crash was set in Los Angeles and since most Academy pytanie, czego można dowiedzieć się o powszechnych postawach members live in Los Angeles, the voters chose the movie that i wyobrażeniach dotyczących miejsca gejów i lesbijek reflected their experiences.[1] Larry McMurtry, one of the w społeczeństwie amerykańskim na podstawie dyskusji na temat screenwriters for Brokeback Mountain, offered two of the more zwycięstwa filmu Crash, która toczyła się w Internecie, na blogach insightful explanations, both of which turned on prejudice.
    [Show full text]
  • Notes for Chapter Re-Drafts
    Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010.
    [Show full text]
  • LIST of MOVIES from PAST SFFR MOVIE NIGHTS (Ordered from Recent to Old) *See Editing Instructions at Bottom of Document
    LIST OF MOVIES FROM PAST SFFR MOVIE NIGHTS (Ordered from recent to old) *See editing Instructions at bottom of document 2020: Jan – Judy Feb – Papi Chulo Mar - Girl Apr - GAME OVER, MAN May - Circus of Books 2019: Jan – Mario Feb – Boy Erased Mar – Cakemaker Apr - The Sum of Us May – The Pass June – Fun in Boys Shorts July – The Way He Looks Aug – Teen Spirit Sept – Walk on the Wild Side Oct – Rocketman Nov – Toy Story 4 2018: Jan – Stronger Feb – God’s Own Country Mar -Beach Rats Apr -The Shape of Water May -Cuatras Lunas( 4 Moons) June -The Infamous T and Gay USA July – Padmaavat Aug – (no movie night) Sep – The Unknown Cyclist Oct - Love, Simon Nov – Man in an Orange Shirt Dec – Mama Mia 2 2017: Dec – Eat with Me Nov – Wonder Woman (2017 version) Oct – Invaders from Mars Sep – Handsome Devil Aug – Girls Trip (at Westfield San Francisco Centre) Jul – Beauty and the Beast (2017 live-action remake) Jun – San Francisco International LGBT Film Festival selections May – Lion Apr – La La Land Mar – The Heat Feb – Sausage Party Jan – Friday the 13th 2016: Dec - Grandma Nov – Alamo Draft House Movie Oct - Saved Sep – Looking the Movie Aug – Fourth Man Out, Saving Face July – Hail, Caesar June – International Film festival selections May – Selected shorts from LGBT Film Festival Apr - Bhaag Milkha Bhaag (Run, Milkha, Run) Mar – Trainwreck Feb – Inside Out Jan – Best In Show 2015: Dec - Do I Sound Gay? Nov - The best of the Golden Girls / Boys Oct - Love Songs Sep - A Single Man Aug – Bad Education Jul – Five Dances Jun - Broad City series May – Reaching for the Moon Apr - Boyhood Mar - And Then Came Lola Feb – Looking (Season 2, Episodes 1-4) Jan – The Grand Budapest Hotel 2014: Dec – Bad Santa Nov – Mrs.
    [Show full text]
  • Spirited Away Study Guide
    Spirited Away Directed by Hayao Miyazki This study guide suggests cross-curricular activities based on the film Spirited Away by Hanoko Miyazaki. The activities seek to complement and extend the enjoyment of watching the film, while at the same time meeting some of the requirements of the National Curriculum and Scottish Guidelines. The subject area the study guide covers includes Art and Design, Music, English, Citizenship, People in Society, Geography and People and Places. The table below specifies the areas of the curriculum that the activities cover National Curriculum Scottish Guidelines Subject Level Subject Level Animation Art +Design KS2 2 C Art + Investigating Visually and 3 A+B Design Reading 5 A-D Using Media – Level B-E Communicating Level A Evaluating/Appreciating Level D Sound Music KS2 3 A Music Investigating: exploring 4A-D sound Level A-C Evaluating/Appreciating Level A,C,D Setting & English KS2 Reading English Reading Characters 2 A-D Awareness of genre 4 C-I Level B-D Knowledge about language level C-D Setting & Citizenship KS2 1 A-C People People & Needs in Characters 4 A+B In Society Society Level A Japan Geography KS2 2 E-F People & Human Environment 3 A-G Places Level A-B 5 A-B Human Physical 7 C Interaction Level A-D Synopsis When we first meet ten year-old Chihiro she is unhappy about moving to a new town with her parents and leaving her old life behind. She is moody, whiney and miserable. On the way to their new house, the family get lost and find themselves in a deserted amusement park, which is actually a mythical world.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power
    View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by University of Tasmania Open Access Repository 1 Wings and Freedom, Spirit and Self: How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power Shadow (BA Hons) 195408 Submitted in fulfilment of the requirements for the Degree of Masters of Journalism, Media and Communications University of Tasmania June, 2015 2 Declaration of Originality: This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. X Shadow Date: 6/10/2015 Authority of Access: This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. X Shadow Date: 6/10/2015 3 Declaration of Copy Editing: Professional copy was provided by Walter Leggett to amend issues with consistency, spelling and grammar. No other content was altered by Mr Leggett and editing was undertaken under the consent and recommendation of candidate’s supervisors. X Shadow Date: 6/10/2015 4 Contents Abstract ...................................................................................................................................... 7 CHAPTER 1 .............................................................................................................................
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Hayao Miyazaki Film
    A HAYAO MIYAZAKI FILM ORIGINAL STORY AND SCREENPLAY WRITTEN AND DIRECTED BY HAYAO MIYAZAKI MUSIC BY JOE HISAISHI THEME SONGS PERFORMED BY MASAKO HAYASHI AND FUJIOKA FUJIMAKI & NOZOMI OHASHI STUDIO GHIBLI NIPPON TELEVISION NETWORK DENTSU HAKUHODO DYMP WALT DISNEY STUDIOS HOME ENTERTAINMENT MITSUBISHI AND TOHO PRESENT A STUDIO GHIBLI PRODUCTION - PONYO ON THE CLIFF BY THE SEA EXECUTIVE PRODUCER KOJI HOSHINO PRODUCED BY TOSHIO SUZUKI © 2008 Nibariki - GNDHDDT Studio Ghibli, Nippon Television Network, Dentsu, Hakuhodo DYMP, Walt Disney Studios Home Entertainment, Mitsubishi and Toho PRESENT PONYO ON THE CLIFF BY THE SEA WRITTEN AND DIRECTED BY HAYAO MIYAZAKI Running time: 1H41 – Format: 1.85:1 Sound: Dolby Digital Surround EX - DTS-ES (6.1ch) INTERNATIONAL PRESS THE PR CONTACT [email protected] Phil Symes TEL 39 346 336 3406 Ronaldo Mourao TEL +39 346 336 3407 WORLD SALES wild bunch Vincent Maraval TEL +33 6 11 91 23 93 E [email protected] Gaël Nouaille TEL +33 6 21 23 04 72 E [email protected] Carole Baraton / Laurent Baudens TEL +33 6 70 79 05 17 E [email protected] Silvia Simonutti TEL +33 6 20 74 95 08 E [email protected] PARIS OFFICE 99 Rue de la Verrerie - 75004 Paris - France TEL +33 1 53 01 50 30 FAX +33 1 53 01 50 49 [email protected] PLEASE NOTE: High definition images can be downloaded from the ‘press’ section of http://www.wildbunch.biz SYNOPSIS CAST A small town by the sea. Lisa Tomoko Yamaguchi Koichi Kazushige Nagashima Five year-old Sosuke lives high on a cliff overlooking Gran Mamare Yuki Amami the Inland Sea.
    [Show full text]
  • A Voice Against War
    STOCKHOLMS UNIVERSITET Institutionen för Asien-, Mellanöstern- och Turkietstudier A Voice Against War Pacifism in the animated films of Miyazaki Hayao Kandidatuppsats i japanska VT 2018 Einar Schipperges Tjus Handledare: Ida Kirkegaard Innehållsförteckning Annotation ............................................................................................................................................... 3 1 Introduction .......................................................................................................................................... 4 1.1 Aim of the study ............................................................................................................................ 5 1.2 Material ......................................................................................................................................... 5 1.3 Research question .......................................................................................................................... 5 1.4 Theory ........................................................................................................................................... 5 1.4.1 Textual analysis ...................................................................................................................... 5 1.4.2 Theory of animation, definition of animation ........................................................................ 6 1.5 Methodology ................................................................................................................................
    [Show full text]
  • Yoshioka, Shiro. "Princess Mononoke: a Game Changer." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
    Yoshioka, Shiro. "Princess Mononoke: A Game Changer." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 25–40. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781501329753.ch-001>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 01:01 UTC. Copyright © Rayna Denison 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 25 Chapter 1 P RINCESS MONONOKE : A GAME CHANGER Shiro Yoshioka If we were to do an overview of the life and works of Hayao Miyazaki, there would be several decisive moments where his agenda for fi lmmaking changed signifi cantly, along with how his fi lms and himself have been treated by the general public and critics in Japan. Among these, Mononokehime ( Princess Mononoke , 1997) and the period leading up to it from the early 1990s, as I argue in this chapter, had a great impact on the rest of Miyazaki’s career. In the fi rst section of this chapter, I discuss how Miyazaki grew sceptical about the style of his fi lmmaking as a result of cataclysmic changes in the political and social situation both in and outside Japan; in essence, he questioned his production of entertainment fi lms featuring adventures with (pseudo- )European settings, and began to look for something more ‘substantial’. Th e result was a grave and complex story about civilization set in medieval Japan, which was based on aca- demic discourses on Japanese history, culture and identity.
    [Show full text]